Note: Supplemental materials are not guaranteed with Rental or Used book purchases.
Purchase Benefits
What is included with this book?
Acknowledgments | p. ix |
Introduction | p. xi |
About the Author | p. xii |
The Music Business and Its Components | p. 1 |
The Record Industry: A History and General Introduction | p. 3 |
A Brief History of Recording | p. 3 |
How Major and Independent Labels are Organized: Business and Creative Functions | p. 9 |
Terms to Know | p. 14 |
For Class Discussion | p. 14 |
Record Distribution and Promotion | p. 15 |
Record Distribution | p. 15 |
Digital Distribution | p. 20 |
Record Promotion | p. 22 |
Payola and Other Illegal Promotions | p. 27 |
Terms to Know | p. 31 |
For Class Discussion | p. 31 |
Record Deals | p. 32 |
How Artists Get Record Deals | p. 32 |
TV Placements and Commercials | p. 38 |
Recording Contracts | p. 38 |
Why Few Artists Earn Royalties from Records | p. 46 |
Artist-Owned Labels | p. 49 |
Financing Your Own Record | p. 49 |
Piracy, Bootlegging, and File Sharing | p. 53 |
Terms to Know | p. 54 |
For Class Discussion | p. 55 |
Intermediaries: Booking Agents, Personal Managers, and Business Managers | p. 56 |
Booking Agents | p. 56 |
Self-Booking | p. 58 |
The College Market and Block Booking | p. 60 |
Double Contracts | p. 62 |
Band Franchises | p. 63 |
Personal Managers | p. 65 |
When Does an Act Need a Manager? | p. 66 |
What Does a Manager Want in an Artist? | p. 68 |
Pitfalls to Avoid | p. 72 |
Finding a Manager | p. 74 |
Business Managers | p. 75 |
Terms to Know | p. 77 |
For Class Discussion | p. 78 |
Talent Unions | p. 79 |
Background of the Union Movement in the United States | p. 79 |
The American Federation of Musicians (AFM) | p. 79 |
AFTRA and SAG | p. 86 |
Other Talent Unions | p. 87 |
The Outlook for Entertainment Unions | p. 87 |
Terms to Know | p. 89 |
For Class Discussion | p. 90 |
Copyright and Performance Rights | p. 91 |
Copyright | p. 91 |
Infringement | p. 94 |
Performance Rights Organizations: ASCAP, BMI, and SESAC | p. 94 |
Performance Rights for Artists | p. 99 |
Publishing and the Songwriter | p. 100 |
Music Publishers | p. 100 |
Terms to Know | p. 107 |
For Class Discussion | p. 107 |
Music Publishing | p. 108 |
Publishing Rights | p. 108 |
Mechanicals | p. 109 |
Printed Music | p. 111 |
Print Publishers | p. 113 |
Synchronization Rights | p. 116 |
Grand Rights | p. 122 |
The Outlook for Music Publishing | p. 124 |
Terms to Know | p. 125 |
For Class Discussion | p. 125 |
Regional Music Markets | p. 126 |
The Rise and Fall of Regional Scenes | p. 126 |
Nashville, Tennessee: Country Music U.S.A | p. 130 |
Little Labels that Could: The Memphis Story | p. 132 |
Rap-a-Lot: Atlanta | p. 136 |
Alternative Scenes | p. 136 |
Specialized Scenes | p. 141 |
Studio Dispersion and Regional Scenes | p. 142 |
Conclusion | p. 142 |
Terms to Know | p. 143 |
For Class Discussion | p. 143 |
Specialized Musical Styles | p. 144 |
Classical Music | p. 144 |
Jazz | p. 153 |
Contemporary Christian Music | p. 155 |
Latin Music | p. 156 |
World Music | p. 157 |
Hip-Hop Music | p. 160 |
Children's Music | p. 161 |
Bluegrass, Folk, and Related Music | p. 163 |
Other Musical Genres | p. 166 |
Terms to Know | p. 166 |
For Class Discussion | p. 166 |
The International Music Markets | p. 167 |
Similarities and Differences in International Music Markets | p. 169 |
Role of Government | p. 169 |
Unions | p. 175 |
Legal Concerns | p. 176 |
Immigration | p. 177 |
Piracy in Emerging Markets | p. 179 |
Touring | p. 180 |
Cultural Matters | p. 181 |
Terms to Know | p. 182 |
For Classroom Discussion | p. 182 |
Careers, Entrepreneurship, and the Entertainment Business | p. 183 |
Music Business Education and Entrepreneurship | p. 185 |
College Music Programs | p. 185 |
What Students Should Look for in a Music Business Program | p. 187 |
Music Business Education in the Twenty-First Century | p. 191 |
Developing Entrepreneurial Skills | p. 192 |
Establishing a Business: an Introduction | p. 193 |
Taxes, Investments, and Savings | p. 195 |
Long-Term Careers | p. 196 |
Terms to Know | p. 197 |
For Class Discussion | p. 198 |
Songwriting and Composing | p. 199 |
Song Sharks | p. 199 |
Contests | p. 201 |
How Songwriters Get Songs Recorded | p. 201 |
Collaborations | p. 208 |
Resources | p. 209 |
Can a Songwriter Succeed Outside the Major Music Markets? | p. 210 |
Composing | p. 211 |
Music Arrangers | p. 214 |
Terms to Know | p. 215 |
For Class Discussion | p. 215 |
Careers in Music Teaching | p. 216 |
Teaching Individual and Group Lessons | p. 216 |
Teaching in the School System | p. 218 |
College Teaching | p. 219 |
Instructional Books, Videos, and Clinics | p. 224 |
Terms to Know | p. 227 |
For Class Discussion | p. 227 |
Recording Careers | p. 228 |
Audio Engineering | p. 228 |
Learning Audio Engineering | p. 229 |
Operating a Studio | p. 232 |
Engineering as a Career | p. 237 |
Session Musicians | p. 239 |
Record Production | p. 240 |
Breaking In | p. 241 |
What Producers Do | p. 242 |
Production Styles | p. 245 |
Hip-Hop Producers | p. 248 |
A&R (Artist and Repertoire) | p. 249 |
Producer Compensation | p. 250 |
Producers and Gender and Race Discrimination | p. 251 |
Producer Managers | p. 252 |
Signing a Record Deal with a Producer | p. 252 |
Terms to Know | p. 253 |
For Class Discussion | p. 253 |
Concert Promotion | p. 254 |
The Concert Promotion Business | p. 254 |
The Role of the Promoter | p. 255 |
Promoting Non-Traditional Concerts | p. 264 |
Terms to Know | p. 271 |
For Class Discussion | p. 272 |
Music Merchandising | p. 273 |
Record Stores | p. 273 |
Home Computers and the Growth of Digital Media | p. 278 |
The Music Products Industry | p. 285 |
Music Retailers | p. 287 |
Exporting Musical Products | p. 298 |
Trade Shows | p. 299 |
Terms to Know | p. 302 |
For Class Discussion | p. 302 |
Individual Entrepreneurship | p. 303 |
Randall Williams: Musician/Explorer | p. 304 |
Mary Kadderly: Vocalist, Jazz Singer, and Actress | p. 305 |
Noah Peterson: Jazz with an Open Mind | p. 306 |
Michael Kearsey: Multitalented Bass Player | p. 306 |
Chris Daniels: Band Leader, Producer, and College Professor | p. 307 |
Mary Flower: Teacher/Performer | p. 308 |
Otis Taylor: Bluesman | p. 310 |
Misty River: The Power of Four | p. 311 |
Conclusion | p. 312 |
Terms to Know | p. 313 |
For Class Discussion | p. 313 |
The Future | p. 314 |
Brave New World | p. 314 |
Other Career Opportunities | p. 315 |
Grants | p. 316 |
Putting a Career Together | p. 318 |
Terms to Know | p. 318 |
For Class Discussion | p. 318 |
Appendix | p. 319 |
Glossary | p. 330 |
Index | p. 337 |
Table of Contents provided by Ingram. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.